Catwoman: Feline Fatale
by Jedd the Jedi
Summary: This screenplay returns Catwoman to her roots, dealing with the origins of Catwoman in Selina Kyle's youth and her modern-day exploits.
1. Night at the Museum and Growing Pains

CATWOMAN: FELINE FATALE

Original Screenplay by

Jedd Jong Yue

Started: 24/10/08

Completed:

Contact at:

_CATWOMAN, BATMAN and related characters and elements are the property of DC Comics. _

_This screenplay in itself is copyrighted to its author. All rights reserved. _This screenplay may not be used or reproduced without the express written permission of the author.

EXT. GOTHAM CITY-ESTABLISHING

Fade in- we fly slowly over the towering neo-gothic skyscrapers of Gotham City. Credits appear onscreen as the camera moves. We slowly zoom in on a female figure running across the roofs of the buildings, somersaulting spectacularly from one to another. She is Catwoman. Close up on the character-she is dressed in a black skin-tight faux leather bodysuit with a mask and translucent orange goggles, smiling gleefully as she jumps from one to another, landing in perfectly-executed rolls.

Finally, she gets to the edge of a building overlooking the Gotham City Museum of Antiquities. The camera shows the façade of the building, a large banner hangs down the façade of the grand stone center wing advertising the display of a priceless statue of the Egyptian cat goddess Bast.

The museum building is much shorter than that of the surrounding skyscrapers. Taking out a grapnel gun, Catwoman shoots a zipline into the roof of the museum. We see the tip of the harpoon embed itself in the concrete of the roof. Using her Cat-o'-nine tails whip as a handle, she slides effortlessly down the zipline and onto the roof.

EXT. GOTHAM CITY MUSEUM OF ANTIQUITIES ROOF

Close-up on Catwoman's gloved hand: SCHIING! Retractable blades emerge from the gloves. The claws are forged from titanium and brushed with diamond powder, the glistening specks visible on the metal. Catwoman uses the claw on her index finger to carve out a large circle on the domed glass roof of the museum, while using a suction pad to hold it in place. She removes the circular plate of glass, squeezing into the hole.

CATWOMAN:

Mrrow. Just right.

INT. GOTHAM CITY MUSEUM OF ANTIQUITIES

Catwoman falls into the main foyer of the museum, tumbling through the air and landing catlike on all fours. She smiles, illuminated by the moonlight that floods through the skylight. We see a close-up of a security camera in the corner of the ceiling. Catwoman flings one of her claws at the camera. It is hit and fizzles.

Catwoman walks slowly around the foyer of the museum, as if she owns the place. She enters the Egyptian room of the museum, walking past sarcophagi, statues and other antiquities. Her attention, however, lies with an exhibit at the centre of the room-a statuette of Bast.

INT. EGYPTIAN EXHIBIT HALL-Catwoman's POV

Catwoman turns on her specialized lenses and adjusts them to a frequency that makes a lattice of static infra-red detection beams guarding the prized statuette visible to her, albeit in an orange-red tinge.

INT. EGYPTIAN EXHIBIT HALL

We now see the room in infra-red vision. Catwoman jumps, leaps and squeezes her way through the detection beams, gracefully and with great agility avoiding contact with any. Halfway through however, the beams begin to slowly move, almost tripping her up.

CATWOMAN:

They move…but so do I.

Catwoman's moves are even more impressive then before. At the same time, she avoids setting off a trap of pressure pads. On the floor are pressure pads. Close-up on her feet- Catwoman never spends more than a second standing on the same pad. She finally slithers under the last of the beams, coming face to face with the statuette.

CATWOMAN:

Mmm…absolutely beautiful.

She takes a moment to savour the beauty of the statue, then using the retractable claws to carve out a circle in the glass display case. More infra-red detection beams encircle the back of the statuette, an alarm programmed to be set off should the beams not register the shape of the statuette. In the other hand, she readies a crude but precisely-shaped replica of the statue with the words "Bad Kitty" painted in red on it. In a flash, she replaces the statue with the fake. She breathes a sigh of relief. Then, slipping the statue into her bag, she wriggles her way through the lattice of infra-red beams just the way she came. However, just as she is about to cross the last beam, her foot hits it. Alarm bells ring throughout the museum.

CATWOMAN:

Uh-oh, time to play.

Metal grilles begin to fall fast, closing off the exhibit hall. Using her lightning-fast reflexes, Catwoman tumbles towards one of the entrances, sliding below the oncoming grille and just making it. She pulls her bag behind her fractions of a second before it closes.

Outside, two overweight, middle-aged guards working the graveyard shift run into the exhibit hall.

GUARD 1:

Freeze!

The guards are clearly out of their league. Catwoman swiftly deals with them using elegant but deadly martial arts moves. More guards swiftly follow, but she has already made a run for the foyer.

On her way out, Catwoman reaches the Chinese exhibit hall and encounters fearsome Rottweiler guard dogs.

INT. CHINESE EXHIBIT HALL

The Chinese exhibit hall is decorated without the use of common Chinese clichés, instead opting for a sleek modern look with an earth tone-and-red colour scheme. Assorted artifacts from various dynasties fill glass display cases- these include daggers with intricately-carved decorative hilts, oracle bones and weapons such as spears and swords. Steles and statues of Bodhisattvas and Buddhas arranged according to dynasty positioned against a wall. Because it is after museum hours, the hall is only minimally lit. The centerpiece is a large ornate dragon carved entirely out of a single piece of what appears to be jade, the precious emerald-coloured stone glowing softly in the low light.

Catwoman reaches into her bag and unwraps juicy steaks laced with catnip.

CATWOMAN:

Fetch!

She throws the steaks at the dogs. Two of the dogs run for the steaks. Shortly after, they are knocked out.

CATWOMAN:

Chasing squirrels in dreamland.

After a brief look at the steak, one continues barreling towards her.

CATWOMAN:

There's one over-achiever in every crowd.

The dog pounces on Catwoman, frothing furiously at the mouth.

CATWOMAN:

Or maybe he's just vegetarian.

Catwoman takes a vase from one of the displays and lunges at the guard dog, propelling it into a wall right next to the giant Jade dragon. Before the dog can get up, she pushes the display base with the Jade dragon onto the dog. The Jade shatters, covering the unconscious dog in mesmerizing, beautiful softly glowing shards.

CATWOMAN:

Qing Dynasty. Oh well.

Catwoman runs to the foyer. She shoots her grapnel gun up at the domed glass roof. The harpooned tip of the grapnel catches the glass and she immediately lifts herself up and out, towards the roof.

GUARD:

Look! Up there!

Guards that have gathered at the base of the foyer shoot towards Catwoman, but to no avail. She has successfully escaped the museum.

EXT. GOTHAM CITY MUSEUM OF ANITIQUITIES ROOF

Catwoman reaches the roof and emerges through the hole she has made earlier. She sees a bullet shatter a panel of glass just next to her.

CATWOMAN:

Me-eow! That was close.

Catwoman glances at the night sky. It is illuminated with the bat-signal.

CATWOMAN:

Oh, kitty litter.

Seemingly out of nowhere, a familiar dark figure swoops in from the night. He lands on the museum roof, wrapping his cape around him, his eyes filled with intensity and weariness. It is the BATMAN.

BATMAN:

Hand it over, Selina.

CATWOMAN:

Mrrow, don't you ever say hello? Then again, what am I to expect from you?

Catwoman pulls out her Cat-O'-Nine Tails whip, cracking it menacingly. She cracks the whip in Batman's direction, hard. It hits him, and he winces slightly.

CATWOMAN:

Why does it always have to be this way?

BATMAN:

If you hand over the statuette, things might be very different.

CATWOMAN:

Men just don't understand the meaning of "no".

Catwoman cracks the whip again. This time, it wraps itself around Batman's gauntlet, which he has held out. Catwoman smiles, thinking she has finally got him. Batman yanks hard, pulling the whip from out of Catwoman's hand. Catwoman gasps.

CATWOMAN:

You really know how to upset a girl, don't you?

Catwoman strikes an attacking pose. The claws emerge from her hands once more.

CATWOMAN:

Well then, we'll have to settle this paw to paw.

Catwoman makes the first move. Batman blocks the strike. Batman pulls out two large batarangs from his utility belt, using them to block Catwoman's attacks.

BATMAN:

I don't have time for this, Selina.

Catwoman ignores him and continues. She moves with extreme speed and agility, striking gracefully but hard. Batman can hardly keep up but makes up for this in brute strength. They continue brawling. Their encounter is so intense that it is almost a death match, so passionate and poetic it is almost a tango. Catwoman scratches the Batsuit, but it barely tears the reinforced nomex-Kevlar-titanium thread armour. Catwoman continues to advance on Batman, slowly but surely pushing him towards the edge of the museum rooftop.

BATMAN:

You're getting too close.

CATWOMAN:

That's what I live for.

Catwoman strikes Batman in the neck. He is momentarily stunned and falls off the edge of the rooftop. He shoots a grappling hook hidden in his gauntlet up, into the concrete. Catwoman stands with one foot on the ledge of the roof, looking over the edge, amused. Batman stares back, quiet anger visible on the little of his face that we can see. Batman reaches into his belt, retrieves a caplet and throws it in Catwoman's face. At the same time, he zips up the line as the motor in his gauntlet whirrs furiously. The caplet smashes into her face and releases a strong irritant. Catwoman covers her face with her hands, almost screaming in pain. Batman springs himself over the ledge and picks the large Batarang off the floor. Using the blunt side, Batman delivers a knockout blow to the side of Catwoman's head. We are immediately transported to-

15 YEARS EARLIER

INT. KYLE HOUSEHOLD

The Kyle family apartment is poorly furnished. Brian Kyle is in a drunken rage. He takes a bottle and smashes it over young Selina Kyle's head, continuing the shot in which Batman hits Catwoman with the Batarang. Selina's head is bloodied and bruised. She is on the floor, weeping uncontrollably.

SELINA KYLE:

Stop Papa, stop!

Selina's mother, Maria Kyle, runs up to shield her daughter from her father.

MARIA KYLE:

Brian!

Brian Kyle strikes his wife on the face, beating her to the ground. The family housecat, an Abyssinian named Muezza, sits in a corner and watches, startled. It then quickly hides behind a chair. He stands aggressively over his wife and daughter. Brian continues to abuse his wife. Selina watches with frightened eyes. Brian wipes the sides of his mouth with the back of his hand.

MARIA KYLE:

Stop it! Don't let it control you! Think about our children, Brian!

BRIAN KYLE:

Both of you, outta my sight.

Maria walks to her room, while a frightened Selina runs to hers. The cat follows Selina.

INT. SELINA'S ROOM

Selina Kyle shares a room with her younger sister Maggie.

MAGGIE KYLE:

Was Daddy beating you again?

Selina nods, sitting down on her bed. The cat leaps into her lap. Selina cradles her pet as it purrs contentedly.

SELINA KYLE:

Don't worry Maggie. We'll sort this out soon. Somehow.

The cat suddenly jumps out of Selina's lap.

SELINA KYLE:

Muezza, where are you going?

MAGGIE KYLE:

Mummy's in trouble. Muezza always knows.

SELINA KYLE:

Oh no…

INT. KYLE HOUSEHOLD MASTER BEDROOM

Maria walks slowly to the balcony of the bedroom. The wind blows her long, black hair. She closes her eyes, smiling sadly. She holds her hand out, feeling the breeze. As she opens her eyes, tears roll down her cheek. Muezza runs to her feet, purring softly.

MARIA KYLE:

I'm not sure how I can go on with this, Muezza. Brian's never been the same since he let the drink control him. I don't know how we can bring up Maggie or Selina…things are bad enough as they are.

She looks down. The street 15 floors below is quiet. Muezza lies at her feet, purring insistently. Maria's face becomes even sadder than it was before

MARIA KYLE:

I know, but I can't stay…it's pointless…

Suddenly, Selina runs into the room.

SELINA KYLE:

Mama, what's wrong?

MARIA KYLE:

Nothing, Selina.

SELINA KYLE:

Are you sure Mama?

MARIA KYLE:

Yes, Selina. Now go back to your room, okay?

Selina turns and walks away hesitantly. Maria looks over the balcony. Selina turns back, startled to see her mother not at the balcony.

SELINA KYLE:

Mama? Mama!

Selina runs to the balcony and looks over the edge. We see only her anguished face.

SELINA KYLE:

Oh Mama…

Selina begins to sob. She collapses on the balcony floor, crying. Muezza snuggles up to her, trying to comfort Selina, but to no avail.

Brian Kyle staggers into the room, still holding a bottle.

BRIAN KYLE:

Maria? Maria?!

He runs to the balcony, looking over the edge just as his daughter did. His face softens, and he begins to tear.

BRIAN KYLE:

Maria… I didn't mean it… I didn't mean anything…

Brian kneels on the floor, gently touching Selina's cheek. Selina looks sad and frightened all at once.

BRIAN KYLE:

You…you look so much like your mother…I can't take it.

He stands up, a mixture of sadness, frustration and anger in his eyes.

BRIAN KYLE:

Go.

Selina looks up at her father uncertainly. Both are distraught and do not know how to deal with it.

BRIAN KYLE:

GO!

He smashes the bottle on the floor in anger. Selina runs out of the room. Her father collapses on the balcony floor, sobbing uncontrollably.

INT. SELINA'S BEDROOM

It is late at night, moonlight floods into the bedroom. Selina lies on her bed, staring blankly at the ceiling, unable to fall asleep. The sounds of her father's sobbing waft into the room. Her thoughts drift to the memories she shared with her mother.

FLASHBACK

INT. PET STORE

Selina runs into the pet store, laughing.

SELINA KYLE:

Hurry up Mama!

Maria Kyle follows her into the store, shaking her head. Selina sees a Persian cat in the shop window.

SELINA KYLE:

Mummy, can I have this one?

MARIA KYLE:

Oh, I don't know if we can afford it, Selina…

Maria desperately looks around the pet shop.

MARIA KYLE:

We should have gone to a shelter…

She sees an Abyssinian kitten in another window.

MARIA KYLE:

How about this one?

Selina looks into the eyes of the Abyssinian. Selina's face softens a little, but she tries not to show it.

SELINA KYLE:

I don't know… I still like that one.

MARIA KYLE:

But look at it!

The Abyssinian purrs. Selina can't help but feel drawn to the kitten. She pouts slightly.

SELINA KYLE:

Oh, okay.

EXT. OUTSIDE PET SHOP

Selina holds the Abyssinian kitten in a basket.

SELINA KYLE:

What do we call it, Mama? Tom? Isis?

Maria chuckles.

MARIA KYLE:

How are you going to name it if you don't know whether it's a boy or a girl?

SELINA KYLE:

So is it a boy or a girl?

MARIA KYLE:

It's a girl.

SELINA KYLE:

But how do you know?

MARIA KYLE:

Err…the shop-owner says so. Hmm…what about Muezza?

SELINA KYLE:

Muezza? That's a funny name for a cat.

MARIA KYLE:

Well, legend has it that Muezza was the cat of the prophet Muhammad. The most famous story about Muezza recounts how the call to prayer was given, and as Muhammad went to put on one of his robes, he found his cat sleeping on one of the sleeves, and instead of disturbing the cat he cut off the sleeve and let him sleep.

SELINA KYLE:

That's a wonderful story…okay then. Muezza it is!

The newly-christened Muezza purrs in agreement.

INT. GYMNASTICS SCHOOL

Selina gets onto the beam, finding her balance. She then somersaults across it and lands perfectly. She smiles triumphantly. At this moment, her mother walks into the gym. Selina glances in her mother's direction and waves. She then gets onto the mat, tumbling across it and finishing perfectly once again.

GYMNASTICS COACH:

Very good Kyle, you're getting better and better. You're dismissed.

SELINA KYLE:

Thanks coach.

She picks up her equipment bag and walks towards her mother.

MARIA KYLE:

That was amazing, Selina! I'm so proud of you. Just keep at it, and one day you'll be jumping across rooftops like a cat.

Selina smiles.

BACK TO 15 YEARS EARLIER

INT. KYLE HOUSEHOLD LIVING ROOM

Brian Kyle is still in his chair, sobbing as he drinks.

BRIAN KYLE:

Maria… I'm so sorry… I could've been somebody, instead of what I am…

Brian takes another swig from a bottle of whiskey. Empty liquor bottles fill the table.

INT. SELINA'S BEDROOM

Selina is still awake. She begins to tear as she recalls her time with her mother. Muezza enters the room, purring softly. She leaps onto Selina's bed and snuggles next to her.

SELINA KYLE:

You're awake too…I thought cats sleep 18 hours a day. I don't understand anything anymore. Why does this have to happen to Mama and Papa? Sometimes I envy you, you worry about nothing.

Muezza mews reassuringly.

SELINA KYLE:

At least you understand.

She closes her eyes at last.


	2. Sprang Juvenile Detention Hall

CATWOMAN: FELINE FATALE PART 2

PRESENT DAY

INT. LESLIE THOMPKINS' CRIME ALLEY CLINIC

Catwoman wakes up. Her mask has been removed and her head bandaged, her eyes and nose red from the irritant. Even under these most unglamorous of situations, Selina is a vision, her lovely face framed by close-cropped black hair. Dr Leslie Thompkins is putting some ointment back in a medicine cabinet.

CATWOMAN:

Leslie…how long have I been out?

LESLIE THOMPKINS:

Two hours. I've seen people recover slower from one of those hits.

CATWOMAN:

And he was using those large ones…not the stuff he throws. And he threw something in my face before that too…gawd, he fights like such a girl!

LESLIE THOMPKINS:

It was a form of enhanced oleoresin capsicum combined with o-Chlorobenzylidene Malononitrile. Police use milder versions as crowd deterrents in riot situations and such.

CATWOMAN:

Wow…that makes it pepper spray and tear gas.

LESLIE THOMPKINS:

I've given you sodium metabisulfite and the effects are wearing off anyway. But…it doesn't feel right doing all this. After all, you are a thief, and he's a…

CATWOMAN:

…Vigilante? Not so noble either.

LESLIE THOMPKINS:

He won't say it, but he cares for you and I think he likes you.

CATWOMAN:

If I went straight, it wouldn't be so interesting.

LESLIE THOMPKINS:

Keep having that attitude and he'll give up on you.

CATWOMAN:

Frankly, I don't give a damn. It's this place.

Catwoman gestures to her sordid surroundings.

LESLIE THOMPKINS:

Forget it Selina, it's Gotham. But like I always told my husband, if this doesn't work out we always have New York.

Leslie chuckles and shakes her head.

LESLIE THOMPKINS:

You should get going. I've got an appointment.

Catwoman sits up and rubs her head.

CATWOMAN:

Thanks Leslie.

LESLIE THOMPKINS:

It's not like I have a choice either. Oh, and send your regards to Holly for me.

Catwoman pulls on her mask, somersaulting out of the clinic. Leslie shakes her head again.

EXT. CRIME ALLEY

Leslie steps out of the clinic. A figure in a coat walks towards her. He carries two rose stalks. It is Bruce Wayne. Bruce walks towards Leslie and they embrace. Bruce takes the two stalks and places them on the pavement. Leslie puts her hand comfortingly on Bruce's back.

Catwoman is on a rooftop ledge, watching. Her expression softens a little, but she cocks her head to the side and leaps up. She turns, leaping across the rooftops once more. As she progresses, she stops, glancing across at an old, derelict building. The stone plaque in front of it is partially covered in moss and says "Sprang Juvenile Detention Hall".

CATWOMAN:

Ah, happy days.

13 YEARS EARLIER

A young Selina sneaks into a convenience store. She is shabbily dressed and looks unkempt. She takes a loaf of bread, trying to sneak out of the store.

CASHIER:

Hey, you!

Selina glances back quickly, and then runs out of the store and onto the streets. She shoves passers-by aside.

PASSER-BY:

Watch it!

The cashier gives chase. Selina trips and falls. The cashier catches up to her. Selina spins round, kicking the cashier in the face. A policeman on patrol sees the scene unfolding and runs ahead to restrain Selina.

POLICEMAN:

What do you think you're doing, huh?

SELINA KYLE:

I…I was just hungry.

POLICEMAN:

That's no excuse to go around stealing like that. You're going straight to juvie hall.

He slaps a pair of handcuffs onto Selina's wrists. She drops the loaf of bread onto the hard pavement.

EXT. SPRANG JUVENILE DETENTION HALL

The building in its glory is all cold, grey stone and neo-gothic spires. A yellow school bus pulls up to the building. The yellow has mostly faded and a decal printed "Sprang Juvenile Detention Hall" has partially flaked off. The door slides open, squeaking as it does so. Young girls in plain, starched white uniforms step uneasily out of the bus. One of them is Selina, cleaned and simply groomed, but appearing no less uncomfortable.

WARDEN:

Come on girls, you're not going to a tea party.

Ushered by the warden, Selina and the other girls proceed up to the concrete stairs leading into the detention hall. Greeting them is the Director, a stern, stout, stony-faced, grey-haired and bespectacled woman.

DIRECTOR:

First and foremost, let me make it clear that I am not the director of a cheery summer camp for poor little orphan girls. This is an institution for runaways and other underage offenders who would be considered felons if not for a minor technicality of the law. In my eyes, however, your age is not an excuse, not for anything. Here at Sprang Juvenile Detention Hall, I am the law…

The Director motions for two wardens to open the giant wooden door behind her as she turns and proceeds into the lobby of the detention hall.

DIRECTOR:

And mark my words-any mischief will be dealt with in the most severe, no-nonsense fashion.

INT. SPRANG JUVENILE DETENTION HALL LOBBY

The lobby is about as unwelcoming as the exterior of the detention hall. Faded purple drapes frame old-fashioned French windows and a large carpet with a checkered pattern covers the wood-paneled floor.

DIRECTOR:

You've had your chance at being dear sweet innocent little girls and you've forfeited that very chance and that luxurious privilege, every last one of you. From now on, you will exist here solely under my terms. Welcome to Sprang Juvenile Detention Hall, that will be all.

The Warden turns and walks away as we see Selina's sad and lonely face.

EXT. SPRANG JUVENILE DETENTION HALL EXERCISE YARD

It is the next morning, and the girls are having their morning exercise in the exercise yard. While all the other girls are doing their jumping jacks, Selina is performing a handstand. A warden notices.

WARDEN:

Enough of that, Kyle…feet on the ground!

Selina recovers from the handstand and continues exercising as the other girls are. She frowns and pouts slightly.

INT. SPRANG JUVENILE DETENTION HALL CLASSROOM

Rows of girls sit at desks poring over a book of poetry. A female warden, burly, muscular and obviously uneducated, reads to the girls from the book of poetry. She reads poorly, her pauses glaringly off in parts and struggling to pronounce some of the archaic English.

WARDEN 2:

"Oh Nightingale Thou Surely Art" by William Wordsworth.

O NIGHTINGALE! thou surely art  
A creature of a "fiery heart":--  
These notes of thine--they pierce and pierce;  
Tumultuous harmony and fierce!  
Thou sing'st as if the God of wine  
Had helped thee to a Valentine;  
A song in mockery and despite  
Of shades, and dews, and silent night;  
And steady bliss, and all the loves  
Now sleeping in these peaceful groves.  
I heard a Stock-dove sing or say  
His homely tale, this very day;  
His voice was buried among trees,  
Yet to be come at by the breeze:  
He did not cease; but cooed--and cooed;  
And somewhat pensively he wooed:  
He sang of love, with quiet blending,  
Slow to begin, and never ending;  
Of serious faith, and inward glee;  
That was the song--the song for me!

Any questions?

The girls all sit silently at their desks.

SELINA KYLE:

(Mumbling)

I hate birds.

WARDEN 2:

What was that, Kyle?

SELINA KYLE:

Nothing, Ma'am.

WARDEN 2:

Okay, on to the next one. "The Tyger" by William Blake.

Tyger! Tyger! burning bright  
In the forests of the night,  
What immortal hand or eye  
Could frame thy fearful symmetry?

She pronounces "symmetry" as "cemetery" Meanwhile, Selina daydreams. The camera zooms in on a print of Blake's painting in the poetry book as it dissolves into Blake's painted world, a stylized version of Selina's imagination as the Warden drones on. Selina frolics in a lush tropical jungle with beautiful, magnificent Bengal Tigers. They leap through shrubbery, drink from streams and curl up sleeping on the jungle floor.

WARDEN 2 (Voiceover):

In what distant deeps or skies  
Burnt the fire of thine eyes?  
On what wings dare he aspire?  
What the hand dare sieze the fire?

And what shoulder, and what art.  
Could twist the sinews of thy heart?  
And when thy heart began to beat,  
What dread hand? and what dread feet?

Selina's daydream begins to take on a starkly darker tone, as ambiguous imagery of her mother's suicide, her father's abuse, her arrest on the streets and her sister Maggie fill the imaginary world. The tigers react with sadness and anger, clawing at mirages above.

WARDEN 2:

(Voiceover cont.)

What the hammer? what the chain?  
In what furnace was thy brain?  
What the anvil? what dread grasp  
Dare its deadly terrors clasp?

When the stars threw down their spears,  
And watered heaven with their tears,  
Did he smile his work to see?  
Did he who made the Lamb make thee?

Tyger! Tyger! burning bright  
In the forests of the night,  
What immortal hand or eye  
Dare frame thy fearful symmetry?

We dissolve back to the detention hall classroom, where Selina sits daydreaming at her desk, her expression a mix of confusion and awe. The Warden stomps over to her and slams her fist on the desk. Selina is startled.

WARDEN 2:

Eyes on the book, Kyle!

SELINA KYLE:

Yes, ma'am.

INT. SPRANG JUVENILE DETENTION HALL LOBBY

It is late at night and moonlight flows through the French windows and into the lobby. Selina wanders aimlessly around the large space. All of a sudden, the Director appears on the balcony, looking down at Selina with hawkish eyes.

DIRECTOR:

The wardens tell me you're a potential troublemaker, Kyle. Consider yourself on notice-and you'd better adjust your attitude immediately!

The Director turns and disappears into the shadows.

DIRECTOR:

That will be all.

Selina frowns and proceeds back to her room. On the way however, she stops by a hallway framed by fading velvet drapes. The pattern of the window pane is cast in shadow onto the wall. One of the wardens is impatiently speaking with a technician, dressed in a drab green uniform, baseball cap and with a tool belt around his waist. The technician has just installed a small electronic box into the wall.

TECHNICIAN:

There, all done. Anyone who crosses the boundaries of every door and every window large enough will trigger this baby. You deactivate the alarm by punching in whatever code you want me to program…

WARDEN:

Anything, it doesn't matter.

TECHNICIAN

All right, how about 3-1-2-0?

WARDEN:

3-1-2-0…okay, I'll remember it.

The warden fishes out a crumpled note from her seat pocket and thrusts it into the hand of the technician.

TECHNICIAN:

Thank you ma'am.

WARDEN:

Good, now get lost.

Both disappear their separate ways into the shadows. Selina waits till the coast is clear. She then sneaks towards the control panel, still left open. She gingerly keys in the numbers: close-up on Selina's fingers as they press the buttons in sequence-3-1-2-0. A very slight buzz is audible. Selina races up the imposing wooden steps to the nearest French window. She lifts the window up. The draft from outside blows the faded purple drapes dramatically.

SELINA KYLE:

(Whispering)

No alarm…

Selina vaults through and out of the window.

EXT. SPRANG JUVENILE DETENTION HALL ROOFTOPS

Selina is now mostly outside the building, with just her fingers clinging to the window sill inside.

SELINA KYLE:

YESSS!

The wind blows Selina's ponytail, as she stands atop the roof. The night sky is full of stars and thin wispy clouds sail past. After pausing for a second to relish her freedom, Selina vaults across the roof, leaping from one to another with almost as much grace as she will when she becomes Catwoman. She leaps past gothic stained glass windows and brick-built chimneys. She perches herself atop a spire as she smiles, taking in the brilliant night sky. She reaches up, literally towards the star-studded sky. She then leaps off the spire, spread-eagled and tumbling through the air.


	3. The Bat visits and Tokyo Dreaming

CATWOMAN FELINE FATALE PART 3

THE PRESENT

EXT. ROOF OF SELINA'S PENTHOUSE

The shot continues, though now the grown Selina is leaping through the remote-controlled skylight of her penthouse.

INT. SELINA'S PENTHOUSE

Selina snaps her fingers and the lights come on. The skylight slides back above her. She sees an exquisitely-groomed ragdoll cat with a silky medium-length coat curled up in the corner and walks towards it.

CATWOMAN:

Hello, Rags.

The cat purrs demurely as she picks it up, leaving its legs hanging. The ragdoll's limbs hang limp like all ragdoll cats do when picked up, accounting for their name.

CATWOMAN:

You always hate it when I do that, don't you?

Rags purrs in agreement. Catwoman brings her other hand to support Rags under his belly, stroking his back then setting him back down. A black-coloured Egyptian Mau then runs to her feet, purring as it snuggles up to them. Selina smiles and removes her cowl.

CATWOMAN:

Always happy to see me, aren't ya, Isis?

We hear a growling from somewhere in the distance. Isis leaps onto the couch out of fear. Selina's pet panther Diablo crawls slowly near her. Selina leans down to pat the giant cat. Diablo looks at the couch and growls.

CATWOMAN:

Now Diablo, panthers don't usually get to stay in East Side penthouses, so don't get jealous of Isis.

Catwoman leaves her two cats and turns her bag inside-out for effect, though she knows it is empty. Batman has taken the statuette.

CATWOMAN:

Predictable.

Catwoman passes a shelf filled with similar figurines to the one she attempted to steal, ranging from cheap-looking flea market buys to statuettes carved entirely out of precious stone.

CATWOMAN:

(Sighs) This'll have to do for now.

She makes her way to her bathroom, slowly unzipping her costume.

INT. PENTHOUSE BATHROOM

Selina turns on the tap in the large bathtub. Steam immediately rises. Selina slinks out of her costume, leaving it pooled at her feet. The camera frames her tastefully and artistically as she slides into the bathtub.

CATWOMAN:

Mrrow…this is one kitty who likes the water.

Catwoman is getting comfortable, when all of the sudden the lights go out.

CATWOMAN:

What the…

As soon as they were turned off, the lights flash back on again. Selina turns to find Batman standing in her bathroom.

CATWOMAN:

I knew you couldn't resist.

BATMAN:

I didn't want to do this, Selina.

CATWOMAN:

Now really?

BATMAN:

I knew Leslie was helping you. She knows it's not right, as do you.

Catwoman slouches in the bath and pouts in mock remorse. She then sits up and claps her hands. Diablo runs into the bathroom, growling menacingly at Batman.

BATMAN:

Selina…

Diablo pounces at Batman. He braces himself but still takes a tumble. The panther's paws try to push Batman into the tiled bathroom floor. Using the spikes on the gauntlets of one arm, Batman slashes the panther's side. Diablo recoils as Selina watches.

SELINA KYLE:

A bath _and_ entertainment. Now this is the life.

EXT. ROOFTOP

Perched on a rooftop opposite Selina's penthouse is a figure wearing a ninja outfit covered with knives in a variety of leather sheaths, his face fully hidden by a mask topped with small dog-like ears. He carefully selects one of the knives and aims for the small open window of Selina's penthouse bathroom. This is Hellhound. With precise aim, he throws the knife. It spins through the small opening and embeds itself in Diablo. Diablo's eyes widen as it recoils in shock.

INT. PENTHOUSE BATHROOM

Batman appears puzzled and pushes Diablo off of him. He inspects the animal as Selina looks on in shock. Batman quickly pulls out the knife. Diablo whines. Batman inspects it carefully.

BATMAN:

The tip is envenomed…someone is trying to kill you.

SELINA KYLE:

And they call you the great detective.

Batman ignores her and takes out a first aid kit. He applies antiseptic liquid to the wound, and administers anti-venom to Diablo.

SELINA KYLE:

So, you were training to become a vet in case the whole vigilante thing didn't pan out?

BATMAN:

Be thankful I know how to deal with this, and remember your panther was trying to kill me anyway.

SELINA KYLE:

Oh, Diablo would do nothing of that sort. Would you, baby?

The panther gazes ruefully at Selina and whines again.

SELINA KYLE:

I'll remember to thank you when we next bump into each…

She turns around to find Batman has disappeared.

SELINA KYLE:

Hellhound…what is it about the men in my life?

The camera pans upwards to show a baseball-sized orb with a tail, like a three-dimensional comma, carved out of glowing precious stone sitting in an alcove in Selina's bathroom wall. Dissolve to…

ONE MONTH AGO – TOKYO, JAPAN-ESTABLISHING SHOT

We slowly zoom in to…

EXT. SKYSCRAPER WALL

The camera takes in an aerial view of the bustling metropolis of Tokyo; slowly closing in on a lone black-clad figure climbing slowly but surely up the side of one of the many gleaming skyscrapers. The figure is Catwoman, ascending the structure using high-tech climbing gear. Cars cram the busy streets far below and neon signs illuminate the skyline. Catwoman glances upwards.

CATWOMAN:

Almost there…

Finally, Catwoman reaches the top of the skyscraper. She somersaults onto the roof and looks out across at an adjacent building. Catwoman gauges the distance and jumps.

EXT. BASE OF BUILDING

Two burly Japanese Yakuza thugs stand guard outside the building. Far above them, Catwoman soars a short distance through the sky.

EXT. SKYSCRAPER LEDGE

Catwoman barely grabs the ledge, flailing from the building with one hand. She grunts and pulls herself up onto the narrow ledge. Using the sharp retractable claw on her index finger, she carves out a circular hole in the window large enough to let herself in.

INT. YAKUZA TROPHY ROOM

The Yasakani jewel, the beautiful mystical object that we saw in Selina's bathroom, stands on a pedestal in the middle of the room, guarded by a lattice of lasers. Catwoman is visible behind the statue, outside the window.

EXT. SKYSCRAPER LEDGE

Catwoman assembles a pole with a clamp on the end. She carefully guides the pole through the lattice of lasers.

INT. HALLWAY

Ichiro, a young, handsome Yakuza heir dressed in an expensive suit, walks down the hallway, with his girlfriend Fumiko on his arm.

ICHIRO: (In Japanese)

It is true. Father trusts no one but me with his exquisite treasures, which is why there is but one key-the one I'm carrying.

Ichiro tosses a futuristic-looking card key in the air.

FUMIKO: (In Japanese)

Ooo. So we'll be undisturbed?

ICHIRO:

Completely. The most priceless of Father's treasures is Yasakani no Magamata, one of the Imperial Regalia of Japan, one of the three sacred items used in Imperial ascension. Many claim to hold the true Magamata, but Father has gone to great lengths to procure this, which I assure you is the one and only Yasakani jewel.

Ichiro and Fumiko approach the door. Ichiro inserts the card key into a slot.

INT. YAKUZA TROPHY ROOM

Catwoman successfully grabs onto the Yasakani jewel and lifts it gently off the pedestal. At this very moment, Ichiro and Fumiko enter the room. Fumiko spies Catwoman retrieving the Yasakani jewel.

FUMIKO (In Japanese):

Ichiro, look!

ICHIRO (In Japanese):

Impossible!

CATWOMAN:

That's what they all say.

She takes the jewel, tosses it in the air and then catches it. Ichiro's eyes convey shock and fury. He quickly draws a submachine gun from under his coat. Catwoman smiles, winks and leaps out the window as Ichiro opens fire furiously.

EXT. OUTSIDE SKYSCRAPER

Catwoman hurtles towards the ground as bullets rain down from above. The two Yakuza guards far below take notice and start firing as well. Catwoman pulls on the ripcord of her backpack as a parachute flies out, jerking her slightly upwards. Catwoman sailing down beneath the canopy of the parachute is an awe-inspiring sight, but one that does not last for long. The bullets easily rip holes in the nylon of the canopy. The parachute begins to twist, wrapping around itself. Insert cut-Catwoman looks slightly panicked. Cut back-the buildings rush past her as she continues to fall. Catwoman quickly releases the parachute as the canopy flies up gently but quickly falls. Catwoman positions herself and lands hard, but with catlike agility. The two Yakuza guards stare at her. A shadow is cast upon them as they gaze up. The parachute canopy covers them as they struggle underneath. Catwoman quickly subdues them and runs quickly into a dark alleyway some distance away.

Suddenly, a bright light shines from inside the alleyway. Catwoman is on a sleek black motorbike. She smiles as she revs the engine and speeds away. A group of Yakuza suits see Catwoman speeding away and shoot at her using .45 Caliber pistols, but to no avail. One yells in Japanese, quickly loading a gun-like device with a specialized cartridge. He aims at Catwoman. A tracking device that blips softly attaches to the back of her motorcycle.

INT. YAKUZA GARAGE

The Yakuza garage is harshly lit by fluorescent lights. Sports coupes are parked next to mob cars. A shop assistant is attending to a vehicle riddled with bullet holes. In a corner, four Yakuza play Oichi-Kabu cards with their shirts draped around their waists, displaying full-body tattoos. A Yakuza Kyodai ("big brother") answers his walkie-talkie.

YAKUZA KYODAI (in Japanese):

What is it?

VOICE ON WALKIE-TALKIE (in Japanese):

The bitch with the Yasakani jewel is getting away, on a bike!

The Yakuza Kyodai calls up a map of Tokyo on a large computer monitor. A blinking red blip signifies Catwoman, while orange blips show Yakuza outposts around the city.

YAKUZA KYOKAI (In Japanese):

Notify our brothers.

The Yakuza Kyodai signals the other Yakuza members to get into two black Japanese mob cars. They hurry to put on their shirts and jump into the vehicles that roar out of the garage. One of their number makes a big fuss because he was about to win, and is slow to put his shirt on properly. The cars leave without him and he runs after them, yelling in Japanese.

EXT. TOKYO STREETS

Catwoman's motorcycle tears through the busy Tokyo streets, winding at breakneck speeds in between the cars that cram the roadways. She performs hairpin turns and cuts through red lights, causing two cars to crash into each other. Catwoman glances back to see the two black mob cars cut the red light after her, shoving other cars aside.

INT. YAKUZA GARAGE

The Yakuza Kyodai traces his finger along the orange blips on the screen.

YAKUZA KYODAI (In Japanese):

You cannot run, bitch.

EXT. TOKYO STREETS-ESTABLISHING

An overhead shot shows several more identical Yakuza cars emerge from buildings all over the city, joining the original two.

EXT. TOKYO STREETS

A submachine gun pokes out one of the windows, emitting a violent burst of gunfire that takes out the tail lights of Catwoman's motorcycle.

CATWOMAN:

And they say the mob doesn't take too kindly to foreigners.

EXT. UNFINISHED TOKYO HIGHWAY

Catwoman crashes violently through a road barrier into an unfinished, closed-off section of Tokyo road. The road barrier features warning text in large Japanese print followed by an English mis-translation, "DANGEROUS. KEEPING OUTS PLEASE!" The two mob cars follow. One of the vehicles positions itself right next to Catwoman's motorcycle. Catwoman's claws emerge from her gloves. Catwoman reaches out and scratches the side of the car in a very deliberate manner. The Yakuza suits in the car are outraged and shocked at the same time.

Catwoman veers away, but a different car comes alongside her, a hand holding a high-powered pistol sticking out of a wind-down car window. The Yakuza Suit holding the gun fires away, some poorly-aimed shots ricocheting off of the freshly-dry asphalt. Catwoman pulls out a whip with her right hand, keeping the other on a handlebar. With one eye on the road and the other trained on her target, she cracks the whip, forcing the Yakuza suit to drop his weapon. It clangs and tumbles on the road. He swears in Japanese, withdraws his hand into the vehicle and winds the window back up as he does so. Catwoman smiles.

The door of another mob car opens and one of them leaps out onto the back of Catwoman's bike, narrowly catching on. He takes out a switchblade of sorts comprised of three folding sections, wielding it dangerously. Catwoman turns around, "dueling" with the Yakuza suit using her claws while trying to drive the motorcycle. Several Yakuza shoot from their cars. The Yakuza suit on Catwoman's bike yells at them to stop. They yell their apologies in Japanese. After a brief tussle, Catwoman sharply tilts the bike, throwing the Yakuza suit violently off.

The unfinished highway is cut off a short distance ahead, cordoned off by orange netting and leaving a long drop with plastic construction barriers lining the other side. Metal rebars stick out from the concrete, Instead of slowing down; Catwoman speeds up towards the gap. The motorcycle tears through the netting and jumps the gap. It is almost as if time stops as the motorcycle sails gracefully but precariously over the void. The motorcycle smashes through the orange-and-white construction barriers, printed in Japanese and broken English with the words "this is not a safety barrier". The motorcycle lands but barely does so on the other side of the highway. The Yakuza cars screech to a stop at the edge of the drop. The Yakuza suits jump out of the cars, momentarily dumbfounded but pulling out assorted weapons and shooting at Catwoman across the chasm. The Yakuza suit who was thrown off the bike limps to join his colleagues. Catwoman turns round to blow a kiss to her outraged pursuers. The bullets damage Catwoman's motorcycle further but do not hit her. By now the motorcycle is damaged beyond repair. Catwoman somersaults off her ride and disappears down the unfinished highway, into a decrepit alley.

INT. DECREPIT ALLEY

Catwoman dismounts her bike. She finds a scrawny black stray cat mewing at her feet.

CATWOMAN:

All over the world, you're all the same.

She sighs and fishes some cat food out of her bag. The stray eats out of her hand and mews gratefully when its done. Dissolve to-

INT. YAKUZA OFFICE

A Yakuza Kumicho (boss) sits in an expensive office chair at the head of a long table. His office is surprisingly spacious considering Tokyo's limited space and the design is modern and stark. His Yakuza aides and his mistress are with him.

YAKUZA KUMICHO (In Japanese):

Can you explain this? How does a common thief, a woman, escape with the greatest treasure of the Yakuza?! How is it that my best men cannot recover the Yasakani Jewel? This is a ridiculous disgrace to my organization.

A figure stands in the shadows.

FIGURE (In Japanese):

I can change all that.

YAKUZA KUMICHO (In Japanese):

You'd better pray you can. I'm paying very good money.

The figure steps out of the shadows. He is in a ninja outfit covered with knives, his face hidden by a mask topped with dog-like ears. This is HELLHOUND, the assassin we saw earlier.

YAKUZA KUMICHO (In Japanese):

What are doing in my office wearing that ridiculous costume of yours?

Hellhound ignores him.

HELLHOUND (In Japanese):

What do you have to go on?

The Yakuza Kumicho motions to one of his aides who passes him a manila envelope. He slides the envelope across the table. Hellhound opens it and pours out a series of low-resolution black-and-white photos. One of them shows a blurred but instantly-recognizable image of Catwoman's masked face, the corner of her lips turned into a smile.

HELLHOUND (In Japanese):

Yes…we go a long way back.


End file.
